Rosary - Rare Art Nouveau psaltery in vermeil silver: The...

Exclusive collectible devotional rosary dating to the late 19th century (Umbertine Era / Art Nouveau), a superb example of high-end Italian sacred jewelry inspired by the aesthetic and extraordinary beauty of the Liberty style. The artistic and visual core of the piece lies in the rare translucent blue guilloché enamel, one of the most celebrated and refined decorative techniques of Art Nouveau. Light passes through the colored glass enamel, reflecting on the intricate underlying geometric engravings: a concentric circle motif on the crucifix and a fine radiating pattern on the central medal. The profile of the Virgin Mary is minted with the sinuous grace typical of Liberty, showing pure lines and a face veiled with exceptional spiritual delicacy. The Christ figure, applied on the front of the cross, is firmly anchored by the three original riveted posts on the back. The mounting is in tested silver with a vermeil (thick-gold) finish. Time has partially and nobly tempered the gilding at contact points, revealing the shine of the underlying silver: a splendid two-tone patina that certifies the authenticity and era of the piece. The beads of the decades are made of precious turquoise glass paste, whose matte, milky finish creates a poetic chromatic contrast of perfect Belle Époque taste. The complete absence of marks on the smooth back responds to a precise construction choice of the period: preserving the thin metal plate to prevent the stamping pressure from cracking the enamel’s firing tension. EXPERT NOTES AND HISTORICAL CURIOSITIES • The link with Savoy nobility (Il Blu Maria): The translucent blue enamel was an elite chromatic choice. In the second half of the 19th century, the Savoy royal house imposed blue as the national color. In sacred goldsmithing of the period, the union between the “Blue Savoia” and Marian iconography gave life to exclusive aristocratic commissions, often intended as baptismal or first-communion gifts for the era’s upper middle class. • The Fabergé influence and the Art Nouveau taste: The guillochage technique applied to small sacred objects began as a true technical challenge. Italian artisans, inspired by the masterpieces Peter Carl Fabergé created for the Russian Tsars and by the Parisian Art Nouveau’s floral and geometric exuberance, sought to demonstrate they could replicate that same magical light refraction on devotional objects of very small scale, turning an object of faith into a jewel to be displayed. • The beads in “False Turquoise”: The opaque turquoise glass paste used for the beads was known at the time as calcined glass, produced mainly in Murano (Venice) or in Bohemia. The finish was deliberately designed to imitate natural turquoise from Persia. By the end of the 1800s, turquoise was considered a powerful protective talisman: setting it in a rosary meant uniting the spiritual protection of prayer with the symbolic protection of the stone. • The secret of the smooth back: 19th-century goldsmiths regarded a mirror-smooth back as the “factory mark” of perfect enamel application. If the back surface was flat and flawless, it meant the oven firing had succeeded to the millimeter, without air bubbles or overheating of the metal. The stamp was then applied only on a tiny connecting ring that joined the cross to the chain (jargonously called the “ballerina”), an element that inevitably wore down or was replaced over the decades due to use. TECHNICAL DATA • Era: Late 19th century (circa 1890–1900) • Material: Solid vermeil silver (tested) • Technique: Fire guilloché vitreous enamel in Art Nouveau style and beads in vitreous glass paste • Weight: 11 grams • Condition: Excellent period condition. The enamel is extraordinarily intact, with no chipping, cracking, or restorations, a rarity for a devotional item ultracentennial in age. The attached photos show macro details of the jewelry and are an integral part of the description. Insured and trackable shipping with professional protective packaging.

Estimación:€70

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